Konserto

Konserto ( /kənˈtʃɛərtoʊ/; jamak concertos, atau concerti dari kata jamak Italia) adalah, dari akhir era Barok, sebagian besar dipahami sebagai komposisi instrumental, yang ditulis untuk satu atau lebih solois yang diiringi oleh orkestra atau ansambel lainnya. Struktur tiga gerakan yang umum, gerakan lambat (misalnya, lento atau adagio) didahului dan diikuti oleh gerakan cepat (misalnya, presto atau allegro), yang menjadi standar sejak awal abad ke-18.

Konserto berasal dari genre musik vokal pada akhir abad ke-16: varian instrumental muncul sekitar satu abad kemudian, ketika orang Italia seperti Giuseppe Torelli dan Arcangelo Corelli mulai menerbitkan konserto mereka. Beberapa dekade kemudian, komposer Venesia, seperti Antonio Vivaldi, telah menulis ratusan konser biola, sementara juga menghasilkan konser solo untuk instrumen lain seperti cello atau alat musik tiup kayu, dan concerti grossi untuk sekelompok solois. Konserto keyboard pertama, seperti konserto organ karya George Frideric Handel dan konserto harpsikor karya Johann Sebastian Bach, ditulis sekitar waktu yang sama.

Dalam paruh kedua abad ke-18, piano menjadi instrumen keyboard yang paling banyak digunakan, dan komposer Zaman Klasik seperti Joseph Haydn, Wolfgang Amadeus Mozart, dan Ludwig van Beethoven masing-masing menulis sebagian besar konser piano, dan, pada tingkat yang lebih rendah, konser biola, dan konserto untuk alat musik lainnya. Dalam Zaman Romantik, banyak penyusun, termasuk Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky dan Sergei Rachmaninoff, terus menulis konserto solo, dan, lebih luar biasa, konser untuk lebih dari satu instrumen; namun, konser abad ke-19 untuk instrumen selain piano, biola, dan selo tetap terkait jarang. Pada paruh pertama abad ke-20, konserto ditulis oleh, antara lain, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo dan Béla Bartók, yang terakhir juga menggubah sebuah konserto untuk orkestra, yaitu tanpa solois. Selama abad ke-20, konser muncul oleh komposer besar untuk instrumen orkestra yang telah diabaikan dalam abad ke-19 seperti klarinet, viola, dan Tanduk Prancis .

Abad ke-20:

Kata concerto dalam bahasa Italia, berarti kesepakatan atau pertemuan, berasal dari kata kerja bahasa Latin concertare, yang berarti suatu pertandingan atau pertempuran.^[1]

Dalam abad ke-17, karya-karya keramat untuk suara dan orkestra biasanya disebut konserto, seperti yang tercermin dalam penggunaan judul "konserto" oleh Johann Sebastian Bach untuk banyak karya yang sekarang dikenal sebagai kantata.^{[2] [3]} Istilah "konserto" awalnya hanya digunakan untuk merujuk pada karya seni yang melibatkan suara dan instrumen yang masing-masing memiliki peran yang mandiri—berbeda dengan praktik umum Renaisans yang mana instrumen yang mengiringi suara hanya menggandakan peran suara.^[4] Contoh bentuk konserto awal ini termasuk "In Ecclesiis" karya Giovanni Gabrieli atau "Saul, Saul, was verfolgst du mich" karya Heinrich Schütz.^[5]

Konserto mulai mengambil bentuk modernnya dalam akhir periode Barok, dimulai dengan bentuk konserto grosso yang dikembangkan oleh Arcangelo Corelli. Grup konsertino Corelli terdiri dari dua biola, sebuah selo dan basso continuo.^[6] Dalam Konserto Brandenburg Kelima karya J. S. Bach, misalnya, concertino merupakan seruling, biola, dan harpsikor; walau harpsikor merupakan instrumen solo yang ditampilkan, ia terkadang juga dimainkan dengan ripieno, berfungsi sebagai pengiring keyboard continuo. ^[7]

Lebih akhir, konserto mendekati bentuk modernnya, di mana konsertino biasanya mengurangi menjadi satu instrumen solo yang bermain dengan (atau melawan) sebuah orkestra. Komposer utama konser barok adalah Tommaso Albinoni, Antonio Vivaldi (misalnya, diterbitkan di L'estro armonico, La stravaganza, Six Violin Concertos, Op. 6, Twelve Concertos, Op. 7, Il cimento dell'armonia e dell'inventione, Six Flute Concertos, Op. 10, Six Concertos, Op. 11 dan Six Violin Concertos, Op.12 ), Georg Philipp Telemann, Johann Sebastian Bach, ^[8] George Frideric Handel, Pietro Locatelli, Jean-Marie Leclair, Giuseppe Tartini, Francesco Geminiani dan Johann Joachim Quantz . Konser tersebut dimaksudkan sebagai komposisi khas gaya Italia saat itu, dan semua komposer mempelajari cara mengarang dalam gaya Italia (all'Italiana ).^{[butuh rujukan]}

Konserto Barok terutama diperuntukkan bagi alat musik gesek ( biola, viola, selo, jarang viola d'amore atau harpa ) atau alat musik tiup (suling, rekorder, obo, fagot, tanduk pugar, atau terompet). Bach juga menulis sebuah konser untuk dua biola dan orkestra. ^[9] Pada masa Barok, sebelum ditemukannya piano, konser keyboard tergolong jarang, kecuali dua belas konser organ oleh George Frideric Handel dan tiga belas konser harpsikor oleh Johann Sebastian Bach .^[10]

Zaman Barok:

Banyak dari konserti yang ditulis pada awal abad ke-20 lebih condong ke aliran Romantik akhir, sehingga masuk dalam gerakan modernistik. Mahakarya ditulis oleh Edward Elgar (sebuah konserto biola dan sebuah konserto selo), Sergei Rachmaninoff dan Nikolai Medtner (masing-masing empat dan tiga konserto piano), Jean Sibelius (sebuah konseto biola), Frederick Delius (sebuah konserto biola, sebuah konserto selo, sebuah konser piano dan sebuah konserto ganda untuk biola dan selo), Karol Szymanowski (dua konserto biola dan sebuah "Symphonie Concertante" untuk piano), dan Richard Strauss (dua konserto tanduk, sebuah konserto biola, Don Quixote —sebuah puisi nada yang menampilkan selo sebagai solois—dan di antara karya-karya selanjutnya, sebuah konserto obo ).

Abad ke-20:

Abad ke-20:

• Coloratura soprano Concerto: Reinhold Glière^[1]Templat:Relevance inline

Zaman Barok:

• Bach:
  • Italian Concerto
  • Weimar concerto transcriptions
• Serry's Concerto In C Major For Free Bass Accordion^[2]

Baroque era:

• Bach's concerto for two harpsichords, BWV 1061.1
• Telemann's concertos for four violins
• Webern's Concerto for Nine Instruments
• Stravinsky's Concerto for Two Pianos

• Vivaldi:
  • Nos. 3, 6, 9 and 12 of L'estro armonico
  • La stravaganza
  • Six Violin Concertos, Op. 6
  • Ten of the Twelve Concertos, Op. 7
  • Il cimento dell'armonia e dell'inventione, which includes The Four Seasons
  • Five of the Six Concertos, Op. 11
  • Six Violin Concertos, Op. 12
  • Grosso mogul
• Bach:
  • Violin Concerto in A minor
  • Violin Concerto in E major
• Mozart:
  • No. 1 in B flat major, K. 207
  • No. 2 in D major, K. 211
  • No. 3 in G major, K. 216 (<i id="mwAkY">Straßburg</i>)
  • No. 4 in D major, K. 218
  • No. 5 in A major, K. 219 (<i id="mwAks">Turkish</i>)

Ciri-ciri Romantik awal dapat ditemukan dalam konser biola Viotti, namun dua belas konser biola Spohr, yang ditulis antara tahun 1802 dan 1827, yang benar-benar merangkul semangat Romantik dengan mutu melodi dan dramatis mereka.^[3]

Abad ke-21:

• Elfman's violin concerto^[4]Templat:Relevance inline

• Viola Concerto in G major (Telemann)
• Franz Anton Hoffmeister
  • Viola Concerto in D major
  • Viola Concerto in B-flat major
• Viola Concerto in D major, Op. 1 (Carl Stamitz)^[5]
• Viola Concerto in E♭ major, ICZ 17 (Carl Friedrich Zelter)^[6]
• Viola concerto: Aho, Arnold, Bartók, del Aguila, Denisov, Gagneux, Gubaidulina, Hindemith, Kancheli, Martinů, Milhaud, Murail, Penderecki, Schnittke, Takemitsu, Walton^{[butuh rujukan]}

Repertoar 'inti'—yang paling banyak dibawakan di antara semua konser selo—dibawakan oleh Elgar, Dvořák, Saint-Saëns, Haydn, Shostakovich, dan Schumann, tetapi masih banyak lagi konserto yang dibawakan nyaris cukup sering.

• Vivaldi's cello concertos RV 398–403, 405–414 and 416–424
• Haydn wrote two cello concertos (for cello, oboes, horns, and strings), which are the most important works in that genre of the classical era.^[7]
• Carl Philipp Emanuel Bach wrote three cello concertos and Luigi Boccherini wrote twelve cello concertos.^[8]
• Antonín Dvořák's cello concerto ranks among the supreme examples from the Romantic era while Robert Schumann's focuses on the lyrical qualities of the instrument.
• The instrument was also popular with composers of the Franco-Belgian tradition: Saint-Saëns and Vieuxtemps wrote two cello concertos each and Lalo and Jongen one.
• Tchaikovsky's contribution to the genre is a series of Variations on a Rococo Theme. He also left very fragmentary sketches of a projected Cello Concerto. Cellist Yuriy Leonovich and Tchaikovsky researcher Brett Langston published their completion of the piece in 2006.^[9]
• Carl Reinecke, David Popper and Julius Klengel also wrote cello concertos that were popular in their time and are still played occasionally nowadays.
• Elgar's popular concerto, while written in the early 20th century, belongs to the late romantic period stylistically.
• An important factor for the 20th-century cello concerto was the rise of virtuoso cellist Mstislav Rostropovich. His outstanding technique and passionate playing prompted dozens of composers to write pieces for him, first in his native Soviet Union and then abroad. Among such compositions may be listed Sergei Prokofiev's Symphony-Concerto, Dmitri Shostakovich's two cello concertos, Benjamin Britten's Cello-Symphony (which emphasizes, as its title suggests, the equal importance of soloist and orchestra), Henri Dutilleux' Tout un monde lointain..., Cristóbal Halffter's two cello concertos, Witold Lutosławski's cello concerto, Dmitry Kabalevsky's two cello concertos, Aram Khachaturian's Concerto-Rhapsody, Arvo Pärt's Pro et Contra, Alfred Schnittke, André Jolivet and Krzysztof Penderecki second cello concertos, Sofia Gubaidulina's Canticles of the Sun, Luciano Berio's Ritorno degli Snovidenia, Leonard Bernstein's Three Meditations, James MacMillan's cello concerto and Olivier Messiaen's Concert à quatre (a quadruple concerto for cello, piano, oboe, flute and orchestra).
• In addition, several important composers who were not directly influenced by Rostropovich wrote cello concertos: Samuel Barber, Elliott Carter, Carlos Chávez, Miguel del Aguila, Alexander Glazunov, Hans Werner Henze, Paul Hindemith, Arthur Honegger, Erich Wolfgang Korngold, György Ligeti, Bohuslav Martinů, Darius Milhaud, Nikolai Myaskovsky, Einojuhani Rautavaara, Joaquín Rodrigo, Toru Takemitsu, William Walton, Heitor Villa-Lobos, and Bernd Alois Zimmermann for instance.^[10]

• Double bass concerto: Aho, Gagneux, Dittersdorf, Henze, Koussevitsky, Davies, Ohzawa, Rautavaara, Skalkottas, Tubin^{[butuh rujukan]}

• Viola d'amore concerto: Hindemith^[11]

• Handel's Harp Concerto, HWV 294 (a.k.a. Concerto for harp or organ and orchestra, HWV 294 [scores])
• Reinhold Glière's Harp Concerto
• Joseph Jongen's Harp Concerto^[12]
• Joaquín Rodrigo's Concierto serenata
• André Jolivet's Concerto for Harp and Chamber Orchestra (1952)^[13]
• Darius Milhaud's Harp Concerto, Op. 323 (1953)
• Heitor Villa-Lobos's Harp Concerto^[14]
• Alberto Ginastera's Harp Concerto^[13]
• Einojuhani Rautavaara's Harp Concerto (2000)
• Vivaldi's Mandolin Concerto, RV<span typeof="mw:Entity" id="mwA-k"> </span>425
• Thile, Dorman^[15][16]

• Guitar Concerto: Arnold, E. Bernstein, Brouwer, Castelnuovo-Tedesco, Hovhaness, Malmsteen, Ohana, Ponce, Rodrigo, Trigos, Villa-Lobos^{[butuh rujukan]}
• Lute concerto in D major (Vivaldi)
• Kanun Concerto: Alnar^[17]

• Vivaldi:
  • Six Flute Concertos, Op. 10
  • Il gran mogol
• Mozart:
  • Flute Concerto No. 1
  • Flute Concerto No. 2
• Western concert flute Concerto: Aho, Arnold, Chaminade, Corigliano, Davies, Denisov, Dusapin, Harman, Hétu, Ibert, Jolivet, Landowski, Nielsen, Penderecki, Piston, Rautavaara, Rodrigo, Takemitsu, J. Williams^{[butuh rujukan]}
• Contrabass flute Concerto: McGowan^[18]Templat:Relevance inline
• Piccolo Concerto: Davies,^[19] Liebermann^[20]
• Recorder concerto: Malcolm Arnold, Richard Harvey^[21]
• Shakuhachi Concerto: Takemitsu^[22]

• Vivaldi:
  • Two of the Twelve Concertos, Op. 7
  • One of the Six Concertos, Op. 11
• Handel:
  • Oboe Concerto No. 1
  • Oboe Concerto No. 2
  • Oboe Concerto No. 3
• Mozart: Oboe Concerto
• Vincenzo Bellini: Oboe Concerto
• Oboe concerto: Aho, Arnold, Bouliane, Corigliano, Davies, Denisov, Harman, MacMillan, Maderna, Martinů, Penderecki, Shchedrin, Strauss, Vaughan Williams, Zimmermann^{[butuh rujukan]}
• Bass oboe concerto: Bryars^{[butuh rujukan]}Templat:Relevance inline
• English Horn Concerto: Bernard Hoffer, William Kraft, Nicholas Maw, Vazgen Muradian, Vincent Persichetti, Ned Rorem, Pēteris Vasks, Henk de Vlieger^{[butuh rujukan]}

• Bassoon concerto: Aho, Butterworth, Davies, del Aguila, Donatoni, Eckhardt-Gramatté, Fujikura, Gubaidulina, Hétu, Jolivet, Kaipainen, Knipper, Landowski, Panufnik, Rihm, Rota, Sæverud, J. Williams^{[butuh rujukan]}
• Contrabassoon Concerto: Aho, Erb^{[butuh rujukan]}Templat:Relevance inline

• Clarinet concerto: Aho, Arnold, Chin, Copland, Davies, del Aguila, Denisov, Dusapin, Fairouz, Finzi, Françaix, Hartke, Hétu, Hindemith, Nielsen, Penderecki, Piston, Rautavaara, Shapey, Stravinsky, Takemitsu, Ticheli, Tomasi, J. Williams^{[butuh rujukan]}
• Bass clarinet Concerto: Bouliane^{[butuh rujukan]}Templat:Relevance inline
• Lindberg's clarinet concerto^[4]Templat:Relevance inline

• Soprano saxophone Concerto: Aho, Higdon, Hovhaness, Mackey, Torke, Yoshimatsu.^{[butuh rujukan][<span title="This claim needs references to reliable sources. (April 2021)">citation needed</span>]}
• Alto saxophone Concerto: Adams, Creston, Dahl, Denisov, Dubois, Glazunov, Husa, Ibert, Koch, Larsson, Maslanka, Muczynski, Salonen, Ticheli, Tomasi, J. Williams, Worley, Yoshimatsu^{[butuh rujukan]}
• Tenor saxophone Concerto: Bennett, Ewazen, Gould, Nicolau, Ward, Wilder.^{[butuh rujukan][<span title="This claim needs references to reliable sources. (April 2021)">citation needed</span>]}
• Baritone saxophone Concerto: Gaines, Glaser, Haas, van Beurden^{[butuh rujukan]}

• Bagpipe: Chieftain's Salute by Graham Waterhouse^{[butuh rujukan]}Templat:Relevance inline

• Trumpet Concerto:
  • Aho
  • Arnold
  • Arutiunian
  • Böhme
  • Jolivet
  • Perry
  • Sandström
  • Ticheli
  • J. Williams
  • Zimmermann^[23]

• Bohemian composer Francesco Antonio Rosetti composed several solo and double horn concertos. He was a significant contributor to the genre of horn concertos in the 18th century. Most of his outstanding horn concertos were composed between 1782 and 1789 for the Bohemian duo Franz Zwierzina and Joseph Nage while at the Bavarian court of Oettingen-Wallerstein. One of his best-known works in this genre is his Horn Concerto in E flat major C49/K III:36. It consists of three movements: 1. Allegro moderato 2. Romance 3. Rondo. Many common features of the galant style are present in Rosetti's music and composing style. In his E-flat horn concerto, we hear periodic and short phrases, galant harmonic rhythm and melodic line reduction.^[24] Rosetti's influence on the 18th century composers, musicians and music was considerable. At the Bavarian court of Oettingen-Wallerstein, his music was often performed by the Wallerstein ensembles. In Paris, his compositions were performed by the best ensembles of the city, including the orchestra of the Concert Spirituel. His publishers were Le Menu et Boyer and Sieber. According to H. C. Robbins Landon (Mozart scholar),^[25] Rosetti's horn concertos might have been a model for Mozart's horn concertos.^[26]Templat:Relevance inline^[relevant?]
• French horn Concerto: Aho, Arnold, Arutiunian, Atterberg, Bowen, Carter, Davies, Glière, Gipps, Hindemith, Hovhaness, Jacob, Knussen, Ligeti, Murail, Penderecki, Strauss, Tomasi, J. Williams^{[butuh rujukan]}

• Trombone Concerto: Aho, Bourgeois, David, Dusapin, Gagneux, Grøndahl, Holmboe, Larsson, Milhaud, Nyman, Olsen, Rota, Rouse, Sandström, Tomasi^{[butuh rujukan]}

• Cornet Concerto: Bourgeois, Corder, Ellerby, Gregson, Howarth, Tomlinson, Wright^{[butuh rujukan]}
• Euphonium Concerto: Bach, Ball, Bourgeois, Brusick, Clarke, Cosma, Curnow, Day, Jager, De Meij, Downie, Ellerby, Ewazen, Feinstein, Filas, Gaines, Gillingham, Golland, Graham, Gregson, Groslot, Hoddinott, Horovitz, Jansa, Jenkins, Lindberg, Linkola, Lisjak, Mealor, Meechan, O'Toole, Roberts, Scott, Sparke, Stevens, Wesolowski, Wilby.^{[butuh rujukan][<span title="This claim needs references to reliable sources. (April 2021)">citation needed</span>]}
• Tuba Concerto: Aho, Arutiunian, Broughton, Gagneux, Holmboe, Vaughan Williams, J. Williams^{[butuh rujukan]}

• Harpsichord concertos, BWV 1052–1059 (Bach)
• Harpsichord Concerto: Falla, Glass, Górecki, Nyman, Martinů, Poulenc^{[butuh rujukan]}

• Handel:
  • Organ concertos, Op.4
  • Organ concertos, Op.7
• Organ concerto: Arnold, Hanson, Harrison, Hétu, Hindemith, Jongen, MacMillan, Peeters, Poulenc, Rorem, Sowerby

Zaman klasik:

• Mozart:
  • Three Concertos after J.C. Bach, K. 107
  • No. 1 in F major, K. 37
  • No. 2 in B<span about="#mwt299" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBiA" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 39
  • No. 3 in D major, K. 40
  • No. 4 in G major, K. 41
  • No. 5 in D major, K. 175
  • No. 6 in B<span about="#mwt300" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBik" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 238
  • No. 8 in C major, K. 246 (<i id="mwBiw">Lützow</i>)
  • No. 9 in E<span about="#mwt301" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBi8" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 271 (<i id="mwBjA">Jeunehomme</i> / <i id="mwBjE">Jenamy</i>)
  • No. 11 in F major, K. 413
  • No. 12 in A major, K. 414
  • No. 13 in C major, K. 415
  • No. 14 in E<span about="#mwt302" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBjo" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 449
  • No. 15 in B<span about="#mwt303" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBj0" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 450
  • No. 16 in D major, K. 451
  • No. 17 in G major, K. 453
  • No. 18 in B<span about="#mwt304" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBkQ" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 456
  • No. 19 in F major, K. 459
  • No. 20 in D minor, K. 466
  • No. 21 in C major, K. 467
  • No. 22 in E<span about="#mwt305" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBk0" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 482
  • No. 23 in A major, K. 488
  • No. 24 in C minor, K. 491
  • No. 25 in C major, K. 503
  • No. 26 in D major, K. 537 (<i id="mwBlY">Coronation</i>)
  • No. 27 in B<span about="#mwt306" class="music-symbol" data-cx="[{&quot;adapted&quot;:true,&quot;partial&quot;:false,&quot;targetExists&quot;:true,&quot;mandatoryTargetParams&quot;:[],&quot;optionalTargetParams&quot;:[]}]" data-mw="{&quot;parts&quot;:[{&quot;template&quot;:{&quot;target&quot;:{&quot;wt&quot;:&quot;Musik&quot;,&quot;href&quot;:&quot;./Templat:Musik&quot;},&quot;params&quot;:{&quot;1&quot;:{&quot;wt&quot;:&quot;flat&quot;}},&quot;i&quot;:0}}]}" data-ve-no-generated-contents="true" id="mwBlk" style="font-family: Arial Unicode MS, Lucida Sans Unicode;" typeof="mw:Transclusion"><span class="music-flat"><span typeof="mw:Entity">♭</span></span></span> major, K. 595

Zaman romantik:

• Lima konserto piano Beethoven meningkatkan tuntutan teknis yang diberikan kepada solois. Dua yang terakhir sangat luar biasa, mengintegrasikan konserto ke dalam struktur simfoni yang besar dengan gerakan-gerakan yang sering kali saling bertabrakan. Konserto Piano No. 4- nya dimulai dengan sebuah pernyataan dari piano, setelah itu orkestra masuk dalam kunci asing, untuk menyajikan apa yang biasanya merupakan tutti pembuka. Karya ini memiliki karakter liris. Gerakan lambatnya merupakan dialog dramatis antara solois dan orkestra. Konserto Piano No. 5- nya memiliki ritme dasar mars militer Wina. Tidak ada subjek kedua liris, tetapi sebagai gantinya adalah pengembangan berkelanjutan dari materi pembuka. ^[27]
• Konserto piano karya Cramer, Field, Düssek, Woelfl, Ries, dan Hummel menyediakan hubungan dari konserto Klasik ke konserto Romantis.
• Chopin menulis dua konserto piano di mana orkestra diturunkan perannya menjadi pengiring. Schumann, meskipun seorang pianis-komposer, menulis sebuah konserto piano di mana virtuositas tidak pernah dibiarkan mengalahkan kualitas liris esensial dari karya tersebut. Melodi lembut dan ekspresif yang terdengar di awal pada instrumen tiup kayu dan terompet (setelah akord pembuka piano yang mengawali) menjadi materi untuk sebagian besar argumen dalam gerakan pertama. Bahkan, argumen dalam pengertian perkembangan tradisional digantikan oleh semacam teknik variasi di mana solois dan orkestra menjalin gagasan mereka. ^[28]
• Penguasaan teknik piano Liszt menyamai penguasaan teknik biola Paganini . Konsertonya yang No. 1 dan No. 2 meninggalkan kesan yang mendalam pada gaya penulisan konserto piano, mempengaruhi Rubinstein, dan khususnya Tchaikovsky, yang pembukaan kordalnya yang kaya pada Konserto Piano Pertamanya sangat terkenal.  ^{[ sumber tidak dapat diandalkan? ]}
• Konserto Grieg juga dimulai dengan cara yang mencolok dan kemudian berlanjut dengan nada liris. ^[29]
• Saint-Saëns menulis lima konser piano dan orkestra antara tahun 1858 dan 1896, dalam aliran klasik.
• Konserto Piano Pertama Brahms dalam D minor (diterbitkan 1861) merupakan hasil kerja kerasnya pada sekumpulan materi yang awalnya ditujukan untuk sebuah simfoni. Konserto Piano Kedua dalam B ♭ mayor (1881) memiliki empat gerakan dan ditulis dalam skala yang lebih besar daripada konserto sebelumnya. Seperti konser biolanya, karya ini berproporsi simfoni.
• Konserto piano yang ditulis pada akhir Periode Romantis jumlahnya lebih sedikit. ^[30] Namun Sergei Rachmaninoff menulis empat konserto piano antara tahun 1891 dan 1926. Konserto Kedua dan Ketiganya, yang merupakan konserto paling populer dari keempat konserto tersebut, menjadi salah satu konserto paling terkenal dalam repertoar piano. ^[31]
• Konserto piano romantis lainnya, seperti yang dibuat oleh Kalkbrenner, Henri Herz, Moscheles dan Thalberg juga sangat populer di era Romantis, tetapi tidak saat ini. ^[30]

Abad ke-20

• Maurice Ravel wrote two pianos concertos, one in G-major (1931) and the second for the left hand in D-major (date of creation1932).
• Igor Stravinsky wrote three works for solo piano and orchestra:
  • Concerto for Piano and Wind Instruments
  • Capriccio for Piano and Orchestra
  • Movements for Piano and Orchestra
• Sergei Prokofiev, another Russian composer, wrote five piano concertos, which he himself performed.^[32]
• Dmitri Shostakovich composed two piano concertos.
• Aram Khachaturian contributed to the repertoire with a piano concerto and a Concerto-Rhapsody.
• Arnold Schoenberg's Piano Concerto is a well-known example of a dodecaphonic piano concerto.
• Béla Bartók also wrote three piano concertos. Like their violin counterparts, they show the various stages in his musical development. Bartok's also rearranged his chamber piece, Sonata for Two Pianos and Percussion, into a Concerto for Two Pianos and Percussion, adding orchestral accompaniment.
• Cristóbal Halffter wrote a prize-winning neoclassical Piano Concerto in 1953, and a second Piano Concerto in 1987–88.
• Ralph Vaughan Williams wrote a concerto for piano, though it was later reworked as a concerto for two pianos and orchestra—both versions have been recorded
• Benjamin Britten's concerto for piano (1938) is a prominent work from his early period.
• Piano concertos by Latin-American composers include one by Carlos Chávez, two by Alberto Ginastera, and five by Heitor Villa-Lobos.
• György Ligeti's concerto (1988) has a synthetic quality: it mixes complex rhythms, the composer's Hungarian roots and his experiments with micropolyphony from the 1960s and 1970s.^[33]
• Witold Lutosławski's piano concerto, completed in the same year, alternates between playfulness and mystery. It also displays a partial return to melody after the composer's aleatoric period.^[33]
• Russian composer Rodion Shchedrin has written six piano concertos.
• Finnish composer Einojuhani Rautavaara wrote three piano concertos, the third one dedicated to Vladimir Ashkenazy, who played and conducted the world première.
• French composer Germaine Tailleferre and Czech composers Bohuslav Martinů and Vítězslava Kaprálová wrote piano concertos.

• Accordion concerto: Hovhaness, Sofia Gubaidulina, Toshio Hosokawa, Kalevi Aho^{[butuh rujukan]}
• Free bass accordion Concerto: John Serry Sr.
• Bandoneón Concerto: Piazzolla^[34]
• Clavinet concerto: Woolf^{[butuh rujukan]}Templat:Relevance inline
• Yamaha GX-1: Akutagawa^{[butuh rujukan]}Templat:Relevance inline

• Percussion concerto: Aho, Dorman, Glass, Jolivet, MacMillan, Milhaud, Rautavaara, Susman^{[butuh rujukan]}
• Timpani concerto: Aho, Druschetzky, Glass, Kraft, Rosauro^{[butuh rujukan]}
• Xylophone concerto: Mayuzumi^[35]Templat:Relevance inline
• Marimba concerto: Creston, Larsen, Milhaud, Rosauro (Concerto No.1 and No.2), Svoboda, Viñao^{[butuh rujukan]}
• Vibraphone: Rosauro (Concerto No.1 and Concerto No.2)^[36]
• Harmonica concerto: Arnold, Hovhaness, Vaughan Williams, Villa-Lobos^[37]
• Sheng Concerto: Unsuk Chin, Bernd Richard Deutsch, Jukka Tiensuu, Man Fang .^{[butuh rujukan][<span title="This claim needs references to reliable sources. (April 2021)">citation needed</span>]}Templat:Relevance inline
• Ondes Martenot concerto: Jolivet, Rozsa^[38]
• Theremin concerto: Aho^[39]

• Vivaldi's <i id="mwCEk">Concerto alla rustica</i>
• Bach's Brandenburg Concertos Nos. 3 (BWV 1048) and 6 (BWV 1051)
• Stravinsky:
  • Concerto in D
  • <i id="mwCFY">Dumbarton Oaks</i> concerto

• Handel's Concerti a due cori [scores], HWV 332–334
• Michael Tippett: Concerto for Double String Orchestra

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